Posted by Jessica Brandon on Thu, Jan 17, 2013 @ 01:56 PM
Polishing the Silver Bowl
By Pat Pattison
I found a silver punch bowl in my cellar. I vaguely remembered it being a gift (from one of my weddings). It was completely covered with tarnish (an interesting symbol), and, since I was Feng Shui-ing, the required move was to toss it. As I was about to, I was interrupted by the little Midwestern voice inside my head: “IT’S SILVER!! You can’t throw it away!”
I’ve gotten pretty good at ignoring that Midwestern voice, or at least sidestepping it. I tried, but as I was about to slip the bowl into the trash bag, it got louder, sounding a lot like my mom: “Nooooo! It’s SIIILVER!” “OK,” I bargained, “if I have any silver polish under the kitchen sink (where all that stuff languishes), I’ll shine up the bowl to see if it’s worth keeping.” Why would I have silver polish? I figured it was an easy escape from The Voice.
Who knew? To my surprise, I did have a jar of silver polish under the sink, (apparently another remnant from one of my weddings). Alas, let the cleaning begin.
I covered the bowl with the grey goop and, as per instruction, allowed it to dry. Wiping it off (with a clean cloth—another surprise under the sink), I discovered that, once the tarnish was rubbed away, the bowl was pretty snazzy. “I’m gonna keep this,” I said, as The Voice basked in the warm glow of its little victory.
Once I’d made the decision to keep it, I looked at the bowl more carefully, noticing the spots I’d missed. I applied more grey goop on the offending areas, waited, then rubbed it off—a bit harder this time. Ah, nice and shiny, both outside and in.
Um, except for the silver leafing all around the rim and on the four curved, leafed legs, still tarnished, with excess polish sticking in all those little crevasses. I tried rubbing with the cloth, but there was no way to get into all those places. I thought, “I’ll use my toothbrush. I can always rinse it off afterwards…”
More polish, and now the scrubbing took longer, not to mention the occasional spray from the toothbrush bristles, requiring goggles. (Silver polish stings the eyes.) The work was more localized and focused, taking longer to cover smaller areas. But finally, after rinsing with warm water, the rim and the legs were sparkling. “Good work,” I cooed to myself.
Oops. For the first time I noticed the thin etched lines swirling both on the interior and the exterior of the bowl. They were still tarnished, not an eyesore, but still not shining like they could. My impulse was to ignore them, but now The Voice reared up again. “Finish what you started. Quit being lazy.” Urrgh!
Q-tips. Again, the work was much more localized and painstaking. Following those swirls wasn’t easy, but after some close attention, a little bad language and a sore wrist, the silver bowl was finished. It glistened. Everything Midwestern in me shone with the glow of a job well done. I filled my gleaming silver bowl with apples and set it in the center of the coffee-table. Voilá!
The moral of this little tale?
It’s not like, when I found the bowl, I immediately saw that the leafing or the etchings were tarnished and needed work. I had plenty to do before I was able to notice those smaller details.
Move from bigger to smaller. Don’t sweat the small stuff until the big stuff is cleaned up.
Intent is the biggest: What’s your song about? Try to say it in one phrase.
Prosody is huge: Is this idea stable or unstable? All your decisions about structure will depend on how you answer this question.
Very, very big: The three questions every song must answer:
1. Who is talking?
2. To whom?
3. Why?
These three questions establish the Point of View of your song: 3rd Person Narrative (he, she, they), 1st Person Narrative (I, we, he, she, they), 2nd Person Narrative (you, he, she, it, they), or Direct Address (I, you). They also ask why you’re saying what you’re saying. What’s the point of the song?
Verse development is big: how can you develop your verse ideas so your chorus (or refrain, in an AABA form) gains more meaning, more emotional weight, each time we hear it.
Song form is middle-sized: Verse/Chorus or Verse/Refrain?
Deciding on things like rhyme scheme, line lengths, number of lines, is small.
Changing a line or a word is really small. Don’t spend too much time up front searching for the perfect word when you’re still working on the bigger decisions. Everything could change.
Don’t sweat the small stuff until the big stuff is cleaned up.
Gather tools. Obsessively. You’ll need them for all the different jobs you have to do. Keep them under your kitchen sink.
Happy polishing.
Pat Pattison is a Professor at Berklee College of Music, where he teaches Lyric Writing and Poetry. In addition to his four books, Songwriting Without Boundaries, Writing Better Lyrics, The Essential Guide to Lyric Form and Structure, and The Essential Guide to Rhyming, Pat has developed three online lyric writing courses, one on poetry, and one on creative writing available through Berkleemusic.com. He has written over 50 articles for various magazines and blogs and has also filmed a free 6-week online songwriting course for coursera.org, available March 1st, 2012.
Pat continues to present songwriting clinics across the US, Canada, Australia, New Zealand and the UK. Several of his students have won Grammys, including John Mayer and Gillian Welch.
For more information on the 18th Annual USA Songwriting Competition, go to: http://www.songwriting.net
Posted by Jessica Brandon on Wed, Feb 01, 2012 @ 12:55 PM
From Demo To Master, A Music Artist's Experience
by Melissa Axel
After my last article Demo vs. Master Recordings, I was asked to share how one of my own songs moved through the demo stage to completion. That and this post are both written from the recording artist perspective (rather than songwriter pitching songs for other singers to record). This is the evolution of "Golden Rule," from my album LOVE . HUMANITY . METAMORPHOSIS …
"THIS IS IT!" The rush of adrenaline, hard work rewarded, that magical feeling of inspiration successfully translated into a complete, singable tune … You know the feeling you get when you've just finished writing a new song. Eureka, you've done it! But, you're not done with it.
At least, I wasn't done when I shouted from our piano in mid-afternoon triumph for all the neighborhood cats to hear. Even after the editing stage, "Golden Rule" went through several major revisions—the kind best made by sitting down with a trusted musical advisor (in this case, our producer) to carefully analyze a basic recording of the song. The changes made in this pre-production stage turned a pleasant but complex tune into an engaging song with a clear message of love and self-acceptance.
One thing we noticed in the first piano/vocal demo was that there seemed to be two different pre-choruses in the song—and each one appeared twice. This took power away from the composition by creating several different build-ups that never fully paid off. It felt great to play and sing those sections, but as a listener, even I got lost when I heard my initial recording. Where was the peak of the song?
Another issue was how the perspective of the song progressed. It began in third person about a struggling little girl, shifted to the girl's voice questioning her situation, and then to mine, empathizing with everyone who'd gone through the same thing. It seemed like an interesting story arc at the time, but I had admittedly come up with a narrative that was too confusing to clearly deliver its point. What was the punchline … and whose line was it, anyway?
After a hard look at each section of the song, we decided to stick with the first pre-chorus. I let go of lyrics I was originally attached to when I saw how much more powerful the song became without them. We also cut down the instrumental parts, keeping just a short vocal vamp and a quick instrumental build-up to the "bookend" outro. With so many lyrics on the cutting room floor, we no longer needed to give the listener as much musical "buffer" to process what was being said.
Still, I adored that other section, whatever it was. Those chords just felt like they belonged, and the statement "but everyone is special, everybody's unique / that's what they say, and I'd like to believe it" was only the key point of the whole song. A-ha—that was no second pre-chorus, it was the end of the bridge—the climax! Those words now mark the shift from third to first person as we continue into the chorus, "so I sing, soft but strong, 'there is nothing wrong with you.'" Sure enough, these few lines had also functioned as a pre-chorus, because the chords lead back up to the final chorus, only even stronger this time.
For me, transforming our demo in pre-production was the most crucial part of the recording process. Between tightening the form, upping the tempo, and putting unnecessary bits on the chopping block, we cut over two minutes from the song, clarified its structure, and made its core message crystal clear. Having settled on these essentials, we gave a revised piano/vocal demo to the string arranger and other musicians as we prepared to take "Golden Rule" into the studio.
Melissa Axel is an Artist Relations representative of USA Songwriting Competition. At just eight years of age, she was writing songs about the bittersweet journey of life, love, struggle, and inspiration. The piano-driven singer/songwriter studied at Boston's renowned Berklee College of Music and went on to earn her master's degree in Interdisciplinary Arts from Nova Southeastern University. Axel's new album LOVE . HUMANITY . METAMORPHOSIS is reminiscent of Regina Spektor, Norah Jones, and Tori Amos. For more information on the 17th Annual USA Songwriting Competition, go to: http://www.songwriting.net
Posted by Jessica Brandon on Mon, Jan 16, 2012 @ 12:51 PM
Demo vs. Master Recordings by Melissa Axel
Demo vs. master recording—what's the difference? You might as well ask the difference between Norma Jeane Baker and Marilyn Monroe. In the same way we evolve from blossoming youth, searching for the best ways to express ourselves, to realizing our potential as a self-possessed adult, a song often undergoes a drastic transformation from rough demo to fully produced track.
The purpose of making demo recordings is manyfold:
* to get feedback from industry professionals to address melody or lyric issues of a song before beginning the production stage
* to create a sketch of the song for making pre-production decisions, such as tempo, feel, instrumentation, and arrangement ideas
* to share the song with musicians and other members of the production team to decide on parts and prepare for recording
* to compare basic recordings of a number of different songs being considered for recording full production and choose the best or most urgent ones to focus on
Making demos can be as simple as performing the song into your phone's voice memo app or using a computer program like GarageBand to flesh out a basic accompaniment to the melody. Or, many cities have demo studios you can hire, complete with session musicians and a vocalist who will perform in the desired style for pitching the song to a recording artist (be aware that in most cases, you will not retain the master recording rights to be able to license these tracks for use in film and television or to put on your own release and sell). By nature, demos should not be fully produced but remain stripped down so music professionals can easily envision possible arrangement and stylistic ideas for the song.
Master recordings, on the other hand, are fully produced "broadcast quality" tracks. Whether recorded at home or with a producer at a recording studio, they should be professionally mixed and mastered to be ready for radio and online broadcasting, available for sale, and placeable in film and television. Unless you are deliberately recording a live performance, masters require several weeks to months to a year or more of preparation. You will need to spend significant time in pre-production and rehearsals with your team (producer, arrangers, musicians, co-writers, etc.) fine-tuning the song form, instrumentation, arrangements, tempo, feel, and overall sound or vibe just right for the finished recording.
Like Norma Jeane and the iconic screen personality she became, both are beautiful—and at their core, they are one and the same. As we saw many times with Marilyn's image though, diamonds in the rough run the risk of being over-produced or sexualized, feeling too "manufactured" and in danger of straying too far from the authenticity that made them so special in the first place. If we follow our instincts and mold raw inspiration into a polished presentation that best serves the song and reflects its original joie de vivre, that fundamental essence will ring true in the final creation.
Melissa Axel is an Artist Relations representative of USA Songwriting Competition. At just eight years of age, she was writing songs about the bittersweet journey of life, love, struggle, and inspiration. The piano-driven singer/songwriter studied at Boston's renowned Berklee College of Music and went on to earn her master's degree in Interdisciplinary Arts from Nova Southeastern University. Axel's new album LOVE . HUMANITY . METAMORPHOSIS is reminiscent of Regina Spektor, Norah Jones, and Tori Amos. For more information on the 17th Annual USA Songwriting Competition, go to: http://www.songwriting.net
Posted by Jessica Brandon on Mon, Aug 08, 2011 @ 04:21 PM
Creative Collaboration: The Power of Co-writing by Melissa Axel
Everybody knows the three keys to a successful business are "location, location, location!" For successful songwriters, there is another mantra: "co-write, co-write, co-write!"
Still, many of us have grown accustomed to making music alone in our creative caves and may be nervous about teaming up with other writers. Let's take a look at some of the benefits of creative collaboration, whether it takes place in the same room or online with a co-writer many miles away …
Different minds bring fresh perspectives. Unless you've been deliberately writing about a variety of subjects, it's likely (and natural) that your songs tend to focus on the same handful of topics you know best or care about most. Pairing with someone else brings a second lifetime of experiences to the writing table, challenging you to try on new shoes and see what another person's ideas might look like told through your eyes.
Variation opens up new melodic and harmonic possibilities. If you tend to favor the same keys and chord progressions, writing with someone whose first instrument is different from yours can lead you down fresh musical paths. Guitarists could try writing with a pianist, violinist, cellist, mandolin player, etc. (and vice versa). Also, look for people who share some of your influences and lyrical interests but are into other musical styles or approaches to songwriting as well. Always wanted to explore African grooves or incorporate bluegrass elements into a pop song? Find an artist/writer comfortable in territory that's new to you, and give it a try!
Two heads really are better than one. It's easy to beat our heads against the wall or even put a song aside for years when we get stuck on a section of lyrics or melody that just doesn't feel "right." Or perhaps you have some choruses that need verses or a song that's missing a bridge. Trusted writing partners not only bounce ideas off of each other but also can become a great for completing unfinished songs and making sure each word and note is the strongest possible choice.
So where do you find people to co-write with? They might be performing artists in your local music community, writers you know from songwriting websites and social network groups, composers who usually write instrumental music, or producers who create tracks for artists who only sing or rap. Be open to meeting songwriting partners if you travel to perform or attend songwriting conferences, too. It's easy to write across the miles with online audio/video chat programs or even by sending MP3s and lyrics back and forth via email.
If you're ready to broaden your songwriting horizons, take your time and get to know potential co-writers and their writing styles. As your songwriting becomes more plentiful, diverse, and enriching, you'll be glad you reached out and found creative collaborators who are a really great fit.
Melissa Axel is an Artist Relations representative of USA Songwriting Competition. At just eight years of age, she was writing songs about the bittersweet journey of life, love, struggle, and inspiration. The piano-driven singer/songwriter studied at Boston's renowned Berklee College of Music and went on to earn her master's degree in Interdisciplinary Arts from Nova Southeastern University. Axel's new album love . humanity . metamorphosis will be released September 20, 2011. For more information on USA Songwriting Competition, go to: http://www.songwriting.net
Posted by Jessica Brandon on Sat, May 21, 2011 @ 11:53 AM
Music Playlist at MixPod.com
Tune in to the 2011 USA Songwriting Competition Podcast, this features never before heard demo versions of the winners of the USA Songwriting Competition (past & present). Click on the audio player above to listen to the music.
Music featured in this podcast by:
Kate Voegele – Only Fooling Myself
This version is the demo version before it was re-produced and re-mixed when she was signed to Interscope Records. This song went on to hit Top 40 on the Billboard Charts.
Ari Gold – Where The Music Takes You Writers: Ari Gold, Joe Hogue 'JOJOHO' & Sean Petersen
This song is a demo version before it was remixed and reproduced and before it hit Top 10 on the Billboard charts.
Alannah Myles – Give Me Love (see pictured above) Writers: Alannah Myles & Nancy Simmonds
Rosie Casey & Hillary Podell – Is That So Bad
Writers: Ken Hirsch, Rosie Casey, Peter Roberts & Hillary Podell
Amelia Curran – The Mistress
ASON - Be Inspired
Ian Holmes – More
Writers: Raleigh Hall & Gordon Chambers
Pepper MaShay – Does Yo Mamma Know
Christopher Tin – Baba Yetu
This song went on to win 2 Grammy awards in 2011, making Christopher the only USA Songwriting Competition winner to ever win 2 or more Grammy awards in one evening.
USA Songwriting Competition promotes the art & excellence in songwriting. For more information on the 16th Annual USA Songwriting Competition, visit: http://www.songwriting.net
Posted by Jessica Brandon on Mon, May 16, 2011 @ 03:10 PM
Desmond Child, Hit Songwriter
"Live life to the fullest, and then write about it. Dare to suck and put your music out there, and just keep on going" ~ Desmond Child, songwriter of #1 hits such as "Livin’ La Vida Loca", "Livin' On A Prayer" and "You Give Love A Bad Name"
"I felt a kinship with country music, because country has lyrics that tell stories" ~ Desmond Child
"Don't fall in love with everything you write, many of the times it can be improved" ~ Ken Hirsch, Hit Songwriter of songs such as: “I've Never Been To Me”, “If I Could”, etc and First Prize winner of 15th Annual USA Songwriting Competition
"Music is structure out of Chaos" ~ Stephen Sondheim, Lyricist
"I don't recommend analyzing a market or particular artist too much. Write the best song you can and let the professionals figure out what to do with it" ~ Billy Steinberg, songwriter of #1 Hits "Like a Virgin", "True Colors", "Eternal Flame", "Alone", etc.
"I guess you could write a good song if your heart hadn't been broken, but I don't know of anyone whose heart hasn't been broken" ~ Lucinda Williams, songwriter
"I'd rather write great songs because the word "commercial" is so subjective" ~ Beth Nielsen Chapman
"It's not about record companies, it's about finding other avenues to market your music" ~ Mark Mothersbaugh, songwriter, Devo.
"You should listen to songs and listen to what works. Listen to why a song is a hit. Check it out--not to imitate it, but there are certain things that work - hooks and melodies. Hear what works through the ages" ~ Diane Warren
"I think there's something strangely musical about noise" ~ Trent Reznor , songwriter, composer, former member of “Nine Inch Nails”.
"Songs are your best teachers. I try to learn something from every song I hear" ~ Pat Pattison, Songwriting Professor at Berklee College of Music
"Music, even in situations of the greatest horror, should never be painful to the ear but should flatter and charm it, and thereby always remain music" ~ Wolfgang Amadeus Mozart
For more information on the 16th Annual USA Songwriting Competition, check out: http://www.songwriting.net